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Occasionally, YouTube doesn’t recognize the master files I create in Final Cut Pro as HLG HDR, so I’ve taken to uploading my HDR projects to YouTube through Compressor. 1) Send completed project to Compressor from Final Cut Pro. 2) Click on project. 3) Once project has finished loading, click on ‘add’ under settings in the... Continue Reading →
In DPReview’s interview with Kenji Tanaka, VP and senior manager of Sony’s Business Unit 1, Digital Imaging Group, the executive candidly name-drops the now-legendary Blackmagic Pocket 4K (the ultimate expression of Grant Petty’s lifelong quest to bring filmmaking to the masses), which in itself is a bit extraordinary in a setting like this: and a... Continue Reading →
In December of 2017, I purchased the Ninja Inferno to get 4K 60p out of my GH5 and to be able to use the recorder as an HDR grading monitor but things didn’t quite go as planned... https://youtu.be/G5TjHzGbVnw
Sample footage, Sony a7 III HLG HDR. To be seen correctly, must be viewed on an HDR display. SDR (standard dynamic range) rec. 709 video contains at most around six or seven stops of dynamic range while HLG HDR video is capable of as many as 17.5 stops - though both the Sony and my... Continue Reading →
Screen grabs from 4K video shot with the GH5 and the brilliant Veydra 85mm T2.2 Mini Prime (ETC mode enabled). In-camera sharpening dialed all the way down, no sharpening added in post.
Note: Apparently, FCPX update 10.4.6 was supposed to finally address the stability issue that has plagued Final Cut for so long, whereby sharing to YouTube from within the app would inevitably fail; nevertheless, as of this writing, I still suggest making a master file. Update: Occasionally, my master files weren't recognized as HLG HDR videos by YouTube... Continue Reading →
Comparing the results of white balancing with the X-Rite Colorchecker and a random piece of paper, you'll notice immediately that the clip white balanced with the random piece of paper is contaminated with a distinct yellowish cast - in the shadows, in the highlights, in the cigarette lighter, in the cologne and everywhere else for... Continue Reading →
@Clayton1985 2013 - Sony doesn't have any lenses. 2016 - Sony doesn't have great lenses. 2017 - Sony doesn't have good quality control. 2019 - Sony is forcing me to change the definition of a great lens. 2020 - Lenses and quality control are overrated, it's really all about ergonomics and color science. @RubberDials It's... Continue Reading →
Note: If you'd like to upload HLG HDR videos to YouTube, click here. 1) Import files. 2) Select clips in the timeline and in the inspector click on Color Space Override then select Rec.709 from the drop-down menu. 3) Select clips in the timeline and in the inspector, click on Camera LUT then select Leeming... Continue Reading →
Having second thoughts about the Sony 135mm f/1.8 GM... Photo courtesy of Rokoko.
A couple months ago, I wondered aloud whether Sony would respond to Nikon’s announcement that their Z cameras would be able to record RAW video with the Atomos Ninja V (ETA sometime in the fall, if I’m not mistaken). And now, with breathless reviews pouring in of Blackmagic’s implementation of BRAW in their $1,300 P4K... Continue Reading →
Pretty much all of the reviewers invited to attend Sony's launch event in Brooklyn, New York were unanimous in declaring the 135mm f/1.8 GM the ideal portrait lens. I would argue that, far from being ideal, one should carefully examine their needs before even considering this lens. First, there's the weight factor - while Sony... Continue Reading →
Thanks to Tony Northrup.
Sony reaffirmed their unwavering support for and confidence in the E mount when they decided to use it in their $42,000 large format Venice cinema camera, chosen by James Cameron to shoot the two sequels to Avatar. In an interview with the Sony engineers who designed the Venice, Jon Fauer has this to say: I... Continue Reading →
In online forums, not a few commenters insist that Sony must answer promptly to Canon's $1,299 crippled entry-level full frame mirrorless camera. But the very idea that Sony needs to respond to the EOS RP is absurd when you take a moment to think about it. Can you imagine Sony releasing a plastic-fantastic full frame... Continue Reading →
To understand what’s going on with all the fury surrounding the E-M1X, we need only glance back at last year. 2018 was a watershed moment in mirrorless history. We not only saw Sony break the price barrier with the a7 III, but Canon and Nikon both entering the full frame market with their own full... Continue Reading →
Reviews are pouring in, and one common theme emerges: nobody can quite figure out who the OM-D E-M1X is for. Below, excerpts from a half-dozen reviews. TechRadar • Constrained by MFT sensor • EVF resolution not as high as rivals Digital Camera World • “Bulky” for Micro Four Thirds • “Pricey” for Micro Four Thirds... Continue Reading →
https://youtu.be/XKNuVq2npXs "Cupido" by Frank Guerrero License
The Daejeon Chronicles 